Una Limosna por el Amor de Dios (An Alms for the Love of God), also known under alternative titles such as Una Limosnita por el Amor de Dios, Último Trémolo, El Ultimo Canto, and La Última Canción, is a piece for solo classical guitar composed by Paraguayan guitarist and composer Agustín Barrios Mangoré.[1] It is considered one of the masterpieces of the classical guitar repertoire and one of Barrios' final and most touching compositions.[2]
| Una Limosna por el Amor de Dios | |
|---|---|
| by Agustín Barrios Mangoré | |
| Genre | Classical guitar music |
| Composed | c. 1944 |
| Published | Posthumously |
| Duration | 5 minutes |
| Scoring | Guitar |
History
editUna Limosna por el Amor de Dios was composed during the final years of Barrios' life, a period marked by economic hardship and health issues. According to some accounts, the inspiration came from an elderly woman knocking at his door asking for alms "for the love of God."[2] The piece reflects the composer’s deep spirituality and existential condition.
It was published posthumously and quickly entered the standard classical guitar repertoire.[1]
Musical Structure
editThe piece is written in a free form and is a celebrated example of the tremolo technique.[3] Tremolo involves the rapid repetition of a single melodic note using the ring, middle, and index fingers of the right hand, while the thumb provides a harmonic accompaniment in the bass.
Una Limosna por el Amor de Dios is characterized by a gentle and melancholic flow, lacking a rigid formal structure, and creating a suspended, meditative atmosphere.[2] The refined use of modulations and dynamic shading enhances the emotional intensity of the piece.[1]
Comparisons with Other Works
editThe piece is often compared to Recuerdos de la Alhambra by Francisco Tárrega, another major work based on the tremolo technique.[4] However, while Tárrega aimed for an impressionistic soundscape, Barrios used tremolo as a vehicle for spiritual and human expression.[1]
Arrangements
editIn addition to the original solo guitar version, Una Limosna por el Amor de Dios has inspired several notable arrangements:
- Italian violist Marco Misciagna arranged the piece for solo viola, adapting the tremolo technique to the bowed instrument while preserving the lyrical character of the original.[5] This version was later recorded and released by Misciagna.[6]
- Canadian violinist Kerson Leong transcribed and performed the piece for solo violin, creating a virtuosic version that uses rapid bowing to emulate the guitar tremolo.[7]
Both arrangements have been praised for respecting the spirit and emotional depth of the original work.
References
edit- ^ a b c d Wade, Graham (2010). Barrios: Mangoré – His Life and Music. Mel Bay Publications. p. 146.
- ^ a b c Stover, Richard D. (1994). Six Silver Moonbeams: The Life and Times of Agustín Barrios Mangoré. Claitor's Publishing Division. p. 89.
- ^ Zigante, Frédéric (2001). "The Tremolo in Classical Guitar: Technique and Interpretation". Rivista Italiana di Chitarra.
- ^ Turnbull, Harvey (1974). The Guitar from the Renaissance to the Present Day. Charles Scribner's Sons. p. 111.
- ^ "Marco Misciagna – Official website / List Arrangements / Barrios Mangoré". Retrieved 27 April 2025.
- ^ "Agustín Barrios Mangoré: Una Limosna por el Amor de Dios, Arranged for Viola Solo by Marco Misciagna". Retrieved 27 April 2025.
- ^ "Barrios Mangoré: Una Limosna por el Amor de Dios for violin/Canadian Violinist Kerson Leong". The Violin Channel. Retrieved 27 April 2025.
See also
editFurther reading
edit- Graham Wade, Barrios: Mangoré – His Life and Music, Mel Bay Publications, 2010, ISBN 978-0-7866-6601-2.
- Richard D. Stover, Six Silver Moonbeams: The Life and Times of Agustín Barrios Mangoré, Claitor's Publishing Division, 1994, ISBN 978-0875113423.
- Harvey Turnbull, The Guitar from the Renaissance to the Present Day, Charles Scribner's Sons, 1974, ISBN 978-0684130543.
- Frédéric Zigante (ed.), The Tremolo in Classical Guitar: Technique and Interpretation, Rivista Italiana di Chitarra, 2001.